La mujer de arena

Harsh and beautiful analysis of existentionalism. All the Sartrean trappings along with an element of Camus are presented in this film better than any other I know. The realization that life is absurd leads the main character to venture towards trying to make meaning out of what is essentially meaninglessness. The intersubjective relationship between man and woman is examined both erotically and violently while the villagers play the crucial role of the everpresent Other. Disturbing ending only underlies the overpowering presence of the sand dunes. The sand being the strongest metaphor in the film, illustrating the belief that life is nothing but a giant and endless egg-timer flowing sand down upon us. Highly recommended.

A Tokyo schoolteacher Niki Jumpei (Eiji Okada) and part time entomologist travels to a remote area in the hope of studying a rare species of beetle, his aim is to find it and have it named after himself. His first morning there he spends collecting specimens in jars from the sand, he is approached by a rather suspicious local, who questions him as to his motives for being there, Niki dispels the locals suspicions that he is some authoritative figure snooping and goes on his way. Resting briefly in an old boat, he ponders humanity's dependence on paper qualifications to prove our credentials to others, passports, driving licences, university certificates, medical certificates etc and what a suspicious world it would be without them. Niki ( incidentally a name we only find out a the end of the film) falls asleep with the hazy sun beating down on him, he is awakened by the same local, who asks him, how he is going to get home, as he has missed his last bus. Somewhat bewildered Niki says he'll have to walk, the local man says he might be able to help and offers to help find him a bed for the night in the nearby village. Niki is led through the treacherous dunes until they come across a large pit, at the bottom of which lives a woman, it is here that Niki will spend the night.

Niki immediately questions the woman, as to why she would live in such a desolate place, in a ramshackle house where the sand is constantly flowing through holes in the roof and he is amazed to find that her nightly Sisyphean task involves filling baskets with sand that has blown into the pit and having it hoisted up by the locals. After feeding him, the woman tells him he doesn't have to help on his first night here, he finds this a curious statement as he is only staying one night? The truth behind the pit is soon revealed as Niki finds that there is no way out of the pit, the rope ladder having been removed by the locals.

Teshigahara is perhaps best known for his surreal and existential works, Woman in the Dunes fits right into this category. The setting of the sand dunes with the blinding sun gives the film an otherworldly dreamlike quality, with continuing rivers of sand also adding to this quality. The revelation that he is being kept captive is also a rather scary and intriguing, the film traces Niki's mixed emotions of anger and aggression, his denial of his captors, his change of heart and the fact he would stop at nothing to get the merest of rewards from them. His transformation is complete as he himself turns into a captor, of the woman that he now shares his life with.

The film is an epic at almost 2 ½ hours, its pace is incredibly slow but strangely it still doesn't feel that long, this viewer being drawn in to the complexities of the film. There's also a very sensual and sexual subtext, with the burning heat and little to do during the day and with the woman's recommendation that they sleep naked because the sand will chaff them, it is inevitable that sexual liaisons will happen and they do, sometimes it rough and ready and they wrestle each other, sometimes its sensuous as they provocatively wash the sand from each other in some very intimate moments.

Woman of the Dunes I have heard is full of subtext and hidden meanings, some are contradictory to the writer and directors visions so its hard to tell exactly on this my first viewing, exactly what they are so I will not even try to do so, I'll just sit back and let the film wash through my mind again and maybe it will all fall into place. The ending is controversial I would say, I can imagine it causes divide amongst those who have seen it, but in the context of the surreal setting and qualities of the film, I think it suits it fine, if nothing else it will get you talking about it, I think it's a film ripe for over analysis, so again I won't.

If it's at all possible to know nothing about this movie before you watch it, then do so. The predicament a Japanese entomologist finds himself in will become apparent soon enough. Director Hiroshi Teshigahara and cinematographer Hiroshi Segawa do a phenomenal job of creating unforgettable images of sand through tight shots and unique camera angles, and it may make you feel hot, sticky, and somewhat claustrophobic just watching it. Eiji Okada turns in a solid performance as the entomologist, and Kyōko Kishida is brilliant as the 'woman in the dunes' who he meets. She has accepted her fate, difficult as it is, and tries to get Okada to accept it as well.

The film reflects existential, not Zen, themes, and belongs with Camus and Beckett. Life is meaningless in this pit, there is no escape, and the day to day toil is not only a struggle, but absurd and nonsensical. There is clearly a parallel being drawn to the bugs being buried in the sand as well as struggling futilely in test tubes earlier in the movie. It also reflects man's cruelty in the bugs pinned on boards to the forced labor. The scene towards the end, where the villagers look impassively down through masks and glasses with the taiko drums pounding, demanding a lewd display, is chilling.

There are a couple of very raw erotic scenes between Okada and Kishida, heightened by the conditions they find themselves in, and notably occurring as one wipes the other down. In trying to free ourselves of this painful world and the grime it coats us with, if even for only moments, we turn to the embrace of another, and take comfort in carnal moments. It's beautiful and somewhat pathetic at the same time. Okada also experiences a moment of transcendence when he invents a water pump, and sees it as a higher achievement than his original goal of discovering a new species of beetle and having it named after him. There is humanity again, displaying intelligence in improving his lot, and vanity. It's a somewhat grim film, but there is solace in these things. Definitely worth watching.

I get more and more impressed with the classics of Japanese cinema and this is def a highlight. Mesmerizing and artsy it portrays a etymologist and 'the woman of the dunes' trapped in sand. The trap itself obviously symbolizes the trap a certain desert beetle digs to lie in the midst of it waiting for prey which cannot help but sliding into it. Its the same for him, he cant climb the sand walls, the more he struggles the more the sand runs a little like the woman who in fear of the outside continues her sisyfosan existence.

The psychology between the two is excellently depicted. The tension is intensified trough images of sweaty skin and running sand. The cinematographer is a master in filming this. Lots of black. Editing also is sharp and very well done. Sound is minimal and fits the images' bleak and deserted dunes.

Much can be said about this movie, it is one for repeated viewings for sure.

This classic film is one of the few to still live up to the name of "perfect film". Everything in the film is perfectly controlled and at the same time so natural.

The story involves an amateur entomologist captured in a giant sand pit somewhere on the coast of a small Japanese island. He tries to escape but a mysterious woman and some nasty villagers keep pulling him back in.

Despite being made in the early sixties this film still packs a dose of eroticism that most contemporary filmmakers pray to achieve. The black and white cinematography is absolutely haunting (watch out for poor video copies which are way too dark, there is a new DVD out which shows what the original print intended)

This is about as close as you can get to a perfect film. There is nothing that could ever be improved upon.